The discussion that followed my previous Wharf Rat selection brought up what a great version this one is. Well naturally when I opted for another Wharf Rat I wanted to see what all the fuss was about and I believe the accolades this version receives are perfectly warranted.
This, to me, is a wonderful example of how tight the Dead’s playing was in 1977. Songs with slower tempos in general can be more difficult to play than faster ones, but you wouldn’t know that listening to this Wharf Rat. The sound is quite different from the 1971 version featured before in these pages. But you can listen to both and decide for yourself whether there’s a little something extra special about this version. Let me know what you think in the comments.
From the rousing raucous of Not Fade Away emerges the plaintive tale of August West. There’s a lot of breathing room in this take and you would think this is an earlier version because of all the space. Billy and Mickey are either locked in completely or doing a great job of staying out of each other’s way. Keith adds little filigree runs throughout the verses, and Phil just keeps it really simple, anchoring the bottom end. This may be one of the best live versions of the bridge I’ve ever heard. It’s immaculately played and the vocals are SPOT ON from everyone. Donna sounds like a goddess here. The transition to the “fly away” section starts with a lot of oomph! but quickly reverts to a more reserved feel. I thought things might be heading off the rails, which wouldn’t have been bad as far as I’m concerned, but why mess with a good thing, right? So the band sticks with what works. Some extra fuzz comes from Garcia as he flips on a bit of distortion for his ending solo, giving his playing some extra bite. He settles into a more meandering approach after a while, colored nicely by Bobby’s arpeggios. One final verse before the band decides on Playing In The Band.
Truly a great version of Wharf Rat and one that was clean, crisp, mellow and one where the entire band shines. This version seemed, for me, to be one where they polished away all the rough spots and almost created a new song with the clean-up. Remember exactly where I was when I first heard it, so it did get my attention and needless to say a purchase a few days later. Thanks for the reminder Lunchbox
Well thanks for pointing out to me that it was a worthy candidate previously. You definitely put it on my radar.
Thanks to you as always Lunchbox. I thought I remembered commenting about an earlier Wharf version. I truly do enjoy a motivator like you and the posters to relisten to a song or show, often with the strong parts of that tune, I might have missed. Your whole effort kind of sums up the entire arguement against the dead that many non-lovers usually cannot comprehend. The comments about how can anyone listen to the same songs over and over again. What you point out along with the folks that add to the blog is that the name of the song was the same, but the songs were anything but the same, but if didn’t catch the wave all the waves looked the same.
Keep it rolling and enjoy the summer stretch. All the best Joe
This sets up meaningfully. Jer delivers the story with a lilting beauty. It is impossible not to get caught up in it. His misfortunes are absorbed by the crowd and his fate of incarceration for the deeds of another are cheered (but in a sympathetic way). He’s going to get a new start now! He’ll get up and fly away! And he does. He brings the band with him. They support the dynamics. As the “Pearly” verse arrives, Betty pushes the reverb too far, then reels it right back in. Fun! Nearing 7:00 a menacing solo adds the necessary gravity to this situation. This is serious. A difficult life made worse by bad luck. It could happen to anyone, and Jerry is living it for a few minutes here. His faith in Pearly’s faithfulness evokes just the right pathos. Right after that, the song fizzles and a quick return is made to Playing in the Band.